A Quote by Blythe Danner

When I was beginning, a young actor could go from repertory company to repertory company. I did that and loved it. I was also lucky. — © Blythe Danner
When I was beginning, a young actor could go from repertory company to repertory company. I did that and loved it. I was also lucky.
It was a better time to be a young actor when I started out. There was a repertory system where you could go and practise.
I also try to surround myself with people I love - make a family out of the company. So I tend to use the same people over and over. There's a sort of Mel Brooks Repertory Company.
Each writer is born with a repertory company in his head.
When I was about 6, my cousin was very active in a Filipino repertory company, doing musicals and plays. Her aunt was one of the founders of the company, and she told my mom that there were these auditions for 'The King and I,' and that they needed kids. I auditioned, got in and the love affair started from there and just kept going.
I wanted to be a classical actress. I plodded along. I went to junior college in San Francisco, I was in a Repertory Company. My hero was Eva Le Gallienne, who was a great theater actress at the turn of the century who created her own company, and she wrote these hilarious autobiographies at the time.
I was in the movies. I danced, I sang, I learned to work in front of a camera. It was like being in a repertory company.
For two years I was a member of a repertory company in Los Angeles, doing mostly original material, plays written by the director.
Every great dance company, even when it seems poised in perfect balance, needs constant renewal of both repertory and performers.
I wrote 'The Room', 'The Birthday Party', and 'The Dumb Waiter' in 1957, I was acting all the time in a repertory company, doing all kinds of jobs, traveling to Bournemouth and Torquay and Birmingham.
Beats is inherently different: the company is a consumer electronics company but also a media company; a packaged goods company but also an entertainment company.
My grandparents - both of my mother's parents - were actors, and they ran the Reading Repertory Theatre Company, through the town of Reading, where I come from.
Each writer is born with a repertory company in his head. Shakespeare has perhaps 20 players. ... I have 10 or so, and thats a lot. As you get older, you become more skillful at casting them.
...consumers do not buy one brand of soap, or coffee, or detergent. They have a repertory of four or five brands, and move from one to another. They almost never buy a brand which has not been admitted to their repertory during its first year on the market.
I did some professional radio acting as a teenager, and I essentially put myself through college with radio acting in Montreal. When I graduated, I got jobs in professional theatres, repertory, and stock theatres in Canada for a couple of years. And then I went to Stratford, Ontario, where I spent three years with a Shakespeare company. We took a classical play from Stratford to New York City, and I got some good notices there and essentially stayed and did live television. And that brings you to the beginning of filming.
Having that college-town atmosphere with a live repertory company available was a real gift. I found myself gravitating toward the theater from about the age of nine. I guess it was the environment that got me started.
Peter Hall was just organizing the Royal Shakespeare Company. It was going to be an ensemble, it was going to be in repertory, it was going to have a home in London as well as in the Midlands, and all of those things were happening at that time.
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